The film has improved with age. What could not be said under the Hayes code (according to Deborah, the words homosexual, gay, or queer were never mentioned during the entire production – not even, or especially, by gay director Vincente Minnelli) gives it a beauty and delicacy, especially in Deborah’s sublime performance.
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A Western with two female leads is that rarest of cinematic jewels and, under Nicholas Ray’s direction, both Crawford and McCambridge play to the gallery.
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Stewart, Kelly, and Ritter are all magnificent. Kelly, looking radiant, gets to deliver one of the big screen’s all-time sexy lines.
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The Best Queer Song in the History of Cinema: Day’s spectacular delivery of the Sammy Fain-Paul Francis Webster masterpiece “Secret Love.”
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The buildup to Monroe’s superstardom started here. The magnificent widescreen technicolor cinematography if by Joseph MacDonald.
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It’s Howard Hawks again, this time adapting the Jule Stein/Leo Robin Broadway smash “Gentlemen Prefer Blondes”. With Jane Russell and Marilyn Monroe.
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Hitchcock reverses himself here, having gay actor Farley Granger play the straight character and straight actor Robert Walker play the gay character.
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The best play to film adaptation of all-time with two of the greatest performances: Vivien Leigh as Blanch DuBois and Marlon Brando as Stanley Kowalski.
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Lauren Bacall is Kirk Douglas’ young man with a horn’s society wife who is also a closeted lesbian. Bacall is very good in a risque role.
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“Hype the New Fish”. Innocent Eleanor Parker spends time in a women’s prison. With Hope Emerson and Agnes Moorehead.
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Bette Davis in her greatest role with some of the best lines ever written. Both Addison and Eve are gay and he blackmails her.
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Marvelous acting by Judy Holliday, Jean Hagen, Hope Emerson, Tom Ewell and, as Amanda’s “gay best friend”, David Wayne.
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In “Kind Hearts and Coronets”: Alec Guinness has fun playing all eight (or nine) of the unfortunate D’Ascoynes, including Lady Agatha D’Ascoyne. The photograph shows Dennis Price with Joan Greenwood who plays that little minx Sibella.
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The story, which is based on the Leopold and Loeb case is irresistible. Granger and Dall are perfection and Jimmy Stewart is also amazing.
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1948 was the year of Montgomery Clift. In addition to Hawkes “Red River” there was Fred Zinnemann’s “The Search” and William Wyler’s “The Heiress”.
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He is interested in art and music. He is a raving homosexual and a very nasty one at that! Hume Cronyn, a consummate actor, plays him to the hilt.
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The term “MacGuffin” originated by Angus MacPhail for film, adopted by Alfred Hitchcock, and later extended to a similar device in other fiction. The MacGuffin here is the Uranium in the cellar.
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Feast your eyes on Vidor’s stylish direction, Rudolph Mate’s cinematography, Jean Louis’ gowns, and Jack Cole’s choreography for Rita as Gilda.
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Albert Lewin directed his masterpiece, a superb adaptation of Oscar Wild’s “The Picture of Dorian Gray” with a beautiful Hurd Hatfield.
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Brilliantly filmed in high Germanic style by a wondrously talented bunch of ex-pat Viennese uber talents: Curtiz, Anton Grot and Max Steiner.
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Powell is in very good company, and he acquits himself admirably. He also gets props for being the first to play Marlowe.
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“Double Indemnity” is the best of the three great film noirs of 1944, the others being “Laura” and “The Woman in the Window”. The three leads are superb as is Wilder’s direction.
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“Laura” is one of the classic film noirs. Gene Tierney is born and Clifton Webb becomes a star in his fifties. Haunting Raksin score.
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Alfred Hitchcock, the cinema’s greatest director, made seven perfect films in which every shot, every camera move, every editing sequence is, well, perfect.
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Written on the fly by the fabulous Epstein twins and Howard Koch and directed by Michael Curtiz, this is one of the most romantic of all Hollywood movies.
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Monty Wooley delights as the impossibly pompous Sheridan Whiteside in William Keighley’s wonderful adaptation of the Kauffman/Hart play.
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The performances are there to savor with the great Mary Astor doing a superb turn as Bridget O’ Shaughnessy and the gay triumvirate bringing up the rear!
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She captured everyone’s heart, gay or straight. There is something vulnerable yet confident about her. And then there is that incredible voice!
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Every character in the movie, and every animal featured, was female. Great work by Crawford, Russell, Shearer and Mary Boland.
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When Hepburn’s aunt asks him to explain, he replies exasperatedly, “Because I just went gay all of a sudden” (leaping into the air at the word gay).
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